Future House(s):Genealogy: Barcelona Pavilion

The German Pavilion at the Barcelona Universal Exposition (Barcelona Pavilion) is a series of complementary spaces which mirror and echo each other. This was a politically charged project and a symbol for a nation that reinvented itself by the representation of using new materials and new techniques and reinventing space altogether.

Construction is considered a point of departure. It reflexes spatial expression of the spiritual decision through a protective and unenclosed space. Architectural form is achieved through its fluid spatial composition and minimalist detailing with highly finished materials casting endless series of reflections. Three centimeter thick double height marble determines the measures of the pavilion. The invention of steel columns with chrome sheathing further obscured their actual presence. They contributed to a singular synthesis; a hybrid of tectonic technique and visual excitement.

Orientation and relationship to the landscape was primary in this design, conceived as a part of the context on a slope with a short flight of stairs leading to the Grand Plaza adjacent to the massive wall of the Palau Victoria Eugenia and a row of ionic columns centered on the axis of the Grand Plaza. Oriented parallel to the columns and off-centered to the grand axis, architecture happens on a rectangular platform in an orthogonal route. The paving stops at the notion of the platform edge consciously creating a threshold, the extension of the paving to the pavilion acknowledge being part of the route. This route provided the line of movement for an event to be created in the pavilion. The existing wall provided the backdrop and the columns separated the pavilion from the Grand Plaza. It is speculated that some influence of neoclassical works of Karl Frederick Schinkel such as the colonnade acts as a detached porch.

Because of the eight cross section steel columns, the single roof slab acquires a comparable floating similar to its vertical equivalent walls. The surface of the shallow water occupies a large portion of the podium, which enhances the quality and ambiguity with the weightlessness. Elements of the Pavilion include a seemingly floating flat roof parallel to the platform, with eight evenly placed columns. It is questioned that if the columns or walls are carrying the roof. Both are not necessary. Columns are four steel angles originally sheathed in chrome. There is also a small roof over the office area. A solid wall wraps around forming a fragmented enclosure. Two shorter walls without corners stands free; one of them interrupts the axis, hence the movement; making a place to linger. Together with the entrance steps these walls direct the flow of movement. This wall is considered a political manifesto redirecting people and interrupting the reconnection to the axis. To the left is a courtyard space and to the right is a megaron under its roof. The walls have been relieved of their traditional role of supporting the roof and isolating space completely from outside and have become resembling screens being used as instruments in directing movement. Another wall under the roof acts as the back drop to the core enclosed space.

Walls in the courtyard are clad in travertine, the Walls around the megaron are colorful and highly patterned and with core wall in onyx. These suggest the qualitative differences between within the pavilion. Other walls are in tinted glass allowing views from and to the landscape. Glass also contributed to the labyrinth quality of the pavilion. The two small pools added to the mirror effect. The double wall of translucent white glass creates a portico towards the inner courtyard. This also blocks the axial view out to courtyard form within the megaron. It also contains inaccessible roof lights with artificial light for night glow.

The symmetries are mirrored on different axes in the reflective surfaces of glass, polished stones and water. Alter-wall takes a place making role. The statue highlights the vertical connection in this horizontal master piece.

A building more of surface than a substance, the stone veneer and a hollow platform (unexposed) roof lack standardization and repetition of elements; balance of unequal part more than symmetry and mirror image and frontalism. The content and context takes the focus away from the façade as a two-dimensional graphic composition.

The problem of collecting rainwater was solved by placing the gutters in the wall. The pavilion is set on a narrow 56.5 meter length podium that is clamped between the two end walls. It is visible only on the eastern side facing the square. The walls are autonomous and non-load bearing, hence only 18 cm thick. Walls are held by metal frames with marble slabs on either side like the glass pane that shields the greater part of the roof structure.